Safety is paramount in any woodshop, and certainly should not be overlooked when creating a woodshop at your home. Regardless of an individual’s level of experience, mistakes and accidents can happen in a shop, and can cause serious injury or worse. Keep these six items on hand in your woodshop to build the basic foundation for safe operation of tools and equipment:
1. Eye protection: Safety glasses or face shields should always be worn when working with power tools. Keep enough eye protection on hand in the woodshop to cover the maximum number of people that may be present in the shop at once. Consider the types of tools and materials in your shop and choose appropriately rated eye protection.
2. Respirators or dust masks: Inhaling fine dust particles is hazardous to your health. At minimum, keep on hand a good supply of disposable dust masks or washable cloth masks that are designed to filter fine dust. For a larger investment, you may invest in a power air respirator, which will generally provide a higher level of comfort for extended use.
3. Ear protection: Exposure to noisy equipment, particularly for long periods of time, can cause hearing loss. Ear plugs and/or ear muffs should be available in the woodshop and used by anyone in the shop when appropriate.
4. Fire extinguisher: The fire extinguisher(s) in a woodshop should be stored in a visible and accessible place. Keep glue, thinners and other potentially flammable items away from areas with electrical wires.
5. Running water or eyewash station: While power tools should not be used around water, having running water or an eye washing station available in areas where chemicals are used is a good idea.
6. First aid kit: Even when safety gear is worn and precautions are taken, unforeseen accidents can occur. Be sure to have a well stocked first aid kit on hand in the woodshop, and replenish it as needed.
The appropriate safety gear to be used depends on the particular tool being used or task being performed. Safety gear such as goggles, ear protection and respirators are available with different ratings and strengths, so take into account the types of tools and materials you will be using when choosing safety gear for your home woodshop. Always consult the safety manual for the tools you will be using to ensure that your safety gear and attire are adequate.
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Episode 15: Twenty Questions!
Have you missed listening to our voices? At long
last, we’ve got another podcast episode for you guys. Thanks so much for your
patience! In this episode, we’re
departing from our usual format. Rather than telling you about our crushes of
the week or what we ate, this episode is all about YOU. Or more specifically,
it’s all about answering your burning questions. Recently, on Facebook,Twitter, and Instagram, I put out a call for questions from listeners of this
podcast, and the floodgates opened.
Given the volume of questions, we did two
I focus mostly on the food,
cooking, and family questions. I got a ton of questions about health and weight
loss, but despite my nutrition background, I’m not a medical expert by any
means. And besides, the focus of my blog, podcast, and book is Paleo cooking
rather than Paleo science. If you have science-y questions, there are tons of
more qualified people to ask, like Chris Kresser, Diane Sanfilippo, Robb Wolf,
and Diana Rodgers.
We answer these questions in rapid fire
succession, ’cause to be honest, we don’t have time or patience for a
three-hour episode. Instead, we’re going to tackle 20 questions for today, in
Ready for a whirlwind Q and A session? Here we
20 questions for Nom Nom Paleo:
(We’ve included brief answers and links in the answers below. You’ll hear funny jokes if you listen to the podcast!)
Question 1: I’m just wondering if you ever get
bored eating Paleo. Also, can you explain the white rice, white potato inclusion? Do you eat either?
I actually don’t get bored
eating Paleo, because to me, Paleo is just eating real, natural, wholesome
foods—which I find to be incredibly delicious. As for your white potato and white rice
question, the answer is YES, we do occasionally eat safe starches which is a
term popularized by the Jaminets in their blog and book titled, Perfect Health Diet. Starches may not
be the best option for everyone at all times, but if you’re active and healthy,
these starches won’t negatively affect your health. Plus, research indicates
that once they’re cooked and cooled, white rice and potatoes form resistant starch that pass through your gut undigested and feed the beneficial bacteria in our
Question 2: Do you cheat and go off Paleo? If
so, what does it look like?
I don’t think of myself as ever cheating,
because I don’t stick to one set of rules that never change. Instead, I think
of Paleo as a roadmap, or a compass. It tells me what direction I need to go,
but it doesn’t stop me from taking the occasional detour off the highway
because there’s something I want to check out. In my mind, this is a life-long road trip, and what’s the point of life if you can’t have some fun along the
Anyway, even when I’m taking a detour
because there’s something worth eating, I know what will wreck me. So I take a
mindful approach to my detours. I think this post by the Whole30 folks is really helpful with nutritional off-roading.
Question 3: What do you tell others when they
keep telling us that red meat is unhealthy for us?
I would say that context matters. Red
meat isn’t necessarily bad, but super processed meat products made with red
meat is definitely bad. First of all, I don’t think we eat
that much red meat. We eat it maybe three times a week and our portions are
reasonable, like the size of our hands or smaller. I think red meat is very nutrient dense
and Chris Kresser, Robb Wolf, and Mark Sisson have articles that tell you why. Even if you’re eating other forms of protein like seafood
and poultry, you need to make sure the quality is up to snuff.
Question 4: Is there a
substitute for corn tortillas that actually taste close?
I think the Must-B-Nutty
almond flour tortillas taste closest to corn tortillas. At home, I usually
just make cassava flour tortillas, even though they more closely resemble the
texture of flour tortillas. We just talked about how I make them in the Episode 14, of this podcast.
Question 5: What is your
take on what some consider Paleo sweeteners, like stevia, honey, erythritol,
xylitol, monk fruit, etc.?
I know a lot of people
have had success with those sweeteners, but I don’t really cook with any
sweeteners other than some fruit and occasionally a bit of honey or maple
syrup. And if I’m going to eat something sweet, I don’t think it makes a whole
lot of difference which sweetener I use, as long as it’s not an artificial
sweetener like Splenda or aspartame. Frankly, I just don’t eat a lot of sweets
anymore. And if I choose to indulge, like at a restaurant, I know they’re just
using plain old sugar.
Question 6: You often cite ingredients or products that are
too expensive or not in an everyday budget. We’ve been Paleo and now
FODMAP-free, and things are starting to look and taste the same. I’m an avid
cook so I’m not afraid to mix things up, but what are some easy, inexpensive
ways to shake up a plain old pot roast? Or dress up a chicken? Or use
inexpensive cuts in innovative ways? You’ve touched on some of this but not as
Hmm. I actually have touched on this as a topic on the blog, cookbook, and onthis podcast. I feel like I try really hard to give options for punching up the
flavors of inexpensive cuts of meat, and using umami to do so. I have blog
posts and podcast episodes that are entirely devoted to it. Check out Episode 2
of this podcast, for more information.
When the blog first started five years ago, it featured more expensive
equipment and cooking approaches, like sous vide. But I feel like many of the
recipes I’ve done in the past few years have been all about budget-friendly
options. I’d recommend checking out the blog’s recipe index, and looking atCracklin’ Chicken, Kalua Pig, Cheater Pork Stew, Garbage Stir Fry, Damn Fine
Chicken, or Fiona’s Green Chicken. And in the cookbook, there’s a Yankee Pot
Roast recipe that uses inexpensive chuck roast, as well as an entire section on
different flavor boosters that are cheap to make, like Paleo Ranch Dressing.
And while some ingredients I use may be on the more expensive side, like Red
Boat Fish Sauce or dried mushrooms, I try to buy it on sale, and my recipes
only call for a tiny bit to boost flavors.
Question 7:How much you spend per person per month on food?
Our food budget isn’t like a normal family’s because I buy a ton of ingredients for recipe testing purposes. Believe it or not, and sometimes even I
don’t believe it, I’m actually a food professional now, and I’m not just
cooking for our family of four any more. I’m testing recipes over and over
again, so I have to buy extra.
I know my audience isn’t going to want to blow their budgets on food, so I’m always
trying to make sure I shop for cheaper cuts of meat, and to buy things on sale,
like whole chickens, chicken thighs, ground meat, braising cuts, pork butt,
beef shanks, and beef cheeks. My Chinese mom instilled in me a deep sense of
frugality, so I’m always going to check the price tags and save where I can.
For example, when I head to the butcher and he asks me what I’m going to buy, I
reply, “What’s cheap today?”
Question 8:Can you discuss a bit more about the types of dishes you freeze? I saw stew and
chili, but would love more suggestions.
One blog post in particular that comes to mind is a recent one I did
about freezing Fiona’s Green Chicken—and I have another post on freezing bone
broth, too. To be honest, I’m not great at batch cooking or freezer meals, but
I can tell you that you can freeze almost anything—except maybe salad and
ingredients that can overcook when you reheat them, like fish. My tip is to
freeze your food in the portion size that you intend to eat it. For example, if
you’re going to serve a dish for just two people, freeze it in two-person
portions. Otherwise, if it’s a giant block of frozen food, you’ll probably never
eat it. I freeze Kalua Pork in two person portions, ’cause then I can grab one
or two packs at a time depending on what I do with it.
Question 9: Are there any cooking tricks that can help me learn to like fish? I really
want to like fish.
You can trick anyone into eating something he or she doesn’t
like by drown it in his or her favorite sauce. In Lil-O’s case, it’s gluten-free
teriyaki sauce. But in all seriousness, maybe you just haven’t yet found the
type of fish that appeals to you. Try a light white fish that doesn’t taste too
fishy (e.g. cod). And you can’t really go wrong with King salmon. The trick is to buy
fresh fish and not to overcook it, because then no amount of teriyaki sauce
will save it. Use a good meat thermometer—it’s not just for steak and chops. I normally shoot for 135-140
F for fish filets because they will be cooked through, but still moist.
recently, I did a live, interactive Periscope cooking video where I showed
viewers how to make a quick supper of baked cod. Periscope videos disappear
from the app in 24 hours, but you can always watch my archived ‘scopes on Katch.me. I also try to upload my non-embarassing cooking videos to my YouTube channel afterwards.
Another super easy way that I know some folks like to eat their fish is to get
canned tuna or salmon and mix it with a flavored mayonnaise. People love tuna salad. And speaking of Periscope, I even shot a broadcast onhow easy it is to make homemade mayonnaise with an immersion blender. If you’re
not following me on Periscope, you’re missing out on cooking demos and Lil-O’s breakdancing skills.
Question 10: I just don’t understand the whole
fermentation thing. I keep wondering if my attempts at it will just result in
something rotten that makes me sick.
those of you who don’t know, traditional fermented foods include stuff like
kimchi, sauerkraut, pickles, kombucha, kefir, and yogurt. Folks have been fermenting foods
for generations because it helps with food preservation, boosts umami, increases
the bioavailabilty of nutrients, and helps provide beneficial bacteria to your
exactly why I eat a variety of fermented foods in my diet. But, I have to
confess that I’m not a fermentation expert, and I don’t normally ferment my own
food. I did make kombucha for a while, but then we went on a trip and our batch
got super sour and moldy and then I quit. I know it’s simple to ferment food at
home ’cause everyone who does it tells me how easy and inexpensive it is. But I
just tend to buy fermented foods these days because I don’t have the patience
to wait for stuff to properly ferment. Who knows? Maybe I’ll get back to it one
of these days.
Two great references on my bookshelf are Sandor Katz’s The
Art of Fermentation and Alex Lewin’s Real Food Fermentation.
Question 11: How do you feel after leaving
For those of you new to Nom Nom Paleo, up until recently, I was working as a
night shift hospital pharmacist for 12 years, juggling Nom Nom Paleo duties,
parenting, and drug dealing for the last 4 years of my pharmacy job. To make it
all work, I came up with a bunch of strategies for coping with working nights.
You can read my tips and tricks on how to survive working the night shift in my
post “Surviving the Night Shift.”
over a year ago, I finally quit my hospital job. I now work full-time at Nom
Nom Paleo and take care of the kids. I have to say, I feel SO much better — no
more grogginess, constant jetlag, or memory lapses. It’s also fantastic to do
something I love and be able to spend lots of time with my family. So thank you
to all the supporters of Nom Nom Paleo out there, because without you, I’d
still be wide awake at 3 in the morning, pushing drugs under fluorescent lights
in the ICU!
Question 12: Can you talk about your menu
planning process? Or if you don’t have a specific process, would you be willing
to share what your family actually prepared/ate for a full week?
As I mentioned earlier, I don’t really menu plan for our family—especially
these days, when I’m developing new recipes for the blog, app, or other new
projects. I actually have a post on the blog called, “How I Roll: Weeknight
Paleo Dinner Prep” that shows what I used to do when I still worked nights. But
basically, I would precook a couple of reheatable stews that we would eat later
in the week and keep a defrost bowl in the fridge that would hold extra protein
that I could cook up at a moment’s notice. I always have salad greens or
something that I can quickly sauté or roast at a moment’s notice for vegetable
Follow me on Periscope ‘cause I might hop on and show you
what I’m cooking for dinner that night. But I know that a lot of folks prefer
to have set menus, shopping lists, and step by step plans to keep them on
that’s you, and you need help with meal planning, I highly recommend checking out Real Plans. We partnered with them earlier this year because they have the most amazing,
interactive meal planning program out there. Seriously.
Question 13: Out of all your awesome kitchen gadgets, what
are your top three tools from your collection?
like picking my favorite child—it’s impossible! In Episode 10 of this podcast,
I talked about essential cooking tools so you can go and listen to me discuss a
bunch of key kitchen equipment. Here are three additional items
that weren’t on that list:
Instant Pot (IP-DUO60): It’s LIFE-CHANGING and sparks so much joy. You’ll see it pop up all
over my blog and my Instagram feed, and even on my Periscopes.
Silicone Lids: These things will turn any bowl into a sealed container so they’re the
eco-friendly alternative to plastic wrap and foil. Plus, you can toss them in the dishwasher,
oven, freezer, and microwave.
Microplane rasp grater: It was
originally designed to be a woodworking tool, but I love this gadget for
grating lime zest and making ginger snow with frozen ginger.
Question 14: What’s the
difference between a slow cooker and pressure cooker?
We go into a lot more detail in our cookbook, but the short answer is
that a pressure cooker cooks things fast and under pressure, and a slow cooker
cooks things slow! Basically, a stew that’ll take 3 hours to braise in the oven will
take about 45 minutes in a pressure cooker and 9 hours in a slow cooker. We go
into way more detail in our cookbook about the technical differences between
the pressure cooker and slow cooker, and I think both are valuable. Bottom line? Get an Instant Pot and you’ll have both functionalities in one device!
Question 15: _What kind of exercise do you do together as a family? _
As a family, we try
to go on hikes, play at the park, and ride our bikes together. I guess the short
answer is that we just try to do fun stuff outside as a family or we’ll do some
crazy stuff in our garage gym.
Question 16: What are some good snacks to sneak into a movie theater? Also, do
Star Wars droids have souls?
As long as you don’t bring in crinkly or stinky things—you can sneak in just about anything into the movies. I bring
dark chocolate, nuts, grapes—sometimes I’ll pop organic popcorn at home and
bring it in. I know popcorn isn’t considered Paleo at all, but it’s not like we
go to the movies all the time.
According to our resident Star Wars buff, Henry, some droids have souls, but others are evil. You’ll have to listen in to see which ones are the good guys.
Question 17: Lots of people
asked about how to feed picky eaters. Do you have any advice for them?
Persistence, patience, and compromise are key. I cook one meal for the whole family and make sure it’s something that everyone likes (e.g. Cracklin’ Chicken and Roasted Broccoli and Bacon). I won’t lie: sometimes we resort to yelling.
Question 18: A lot of
people asked this question: “How do you stay motivated to eat healthy all the
time? Is it just to maintain the blog?”
Honestly, I just
like feeling healthy and energetic and I don’t want eat things that give me a
stomache, sore joints, or make me super tired all the time. Now that I’m in my
40s, I want to be the best version of myself, and I need to keep up with my
active kiddos. Also, I don’t eat perfectly Paleo — but I’m way more mindful of
everything I put in my mouth. If it’s an indulgence, I savor it and make sure
it was worth it. I think of Paleo as a way of life, and it has to be
sustainable and delicious.
Question 19: Do you ever feel bad your kids won’t get to
experience foods that you got to try? I don’t feel bad giving up things as an
adult, but I feel weird thinking my daughter will never have experienced those
things like fresh baked bread from a bakery with butter, real pizza,
croissants, donuts, fried mozzarella, real ice cream, etc.?
First of all, my
kids weren’t Paleo at birth, so they’ve already tried many of those things. And
we’re not going to police what they eat outside of the home. It’s not about
deprivation, but making it a priority to feed real, nourishing, and dang tasty
home-cooked meals to our kids. I’d say that I prepare 80 percent or more of
their meals, so I know they’re getting wholesome, home-cooked food. Then, when
they’re out and about, we cross our fingers and hope that they make healthy
choices for themselves.
Question 20: What would be
your last meal on earth, and would it be Paleo or not?
We all take turns answering this one…but you’re gonna have to listen to the episode to find out our answers.
Alright, that’s a
wrap! We didn’t even come close to answering all your questions, but we wrote
them all down, and we’ll find a way to get to more of them, either on our
website, our app, or on social media. I’ve been on a tear with my live cooking demonstrations on Periscope, and I answer
viewer’s questions, too. So download the Periscope app, follow “Michelle Tam”,
and ask your questions while I cook!
Like what you heard? Subscribe to our podcast and leave us a review by clicking here! And don’t forget, you can get TWO months’ free membership and 25% off your first order at Thrive Market by clicking here. How great is that?
Looking for more recipes? Head on over to my Recipe Index! You’ll also find exclusive recipes on my iPad® app, and in my New York Times– bestselling cookbook, Nom Nom Paleo: Food for Humans (Andrews McMeel 2013).
from Cornelius Steinbeck Blog corneliussteinbeck.wordpress.com/2015/10/06/podcast-episo…
Tagged: , Uncategorized , Cornelius , Steinbeck , Blog
One good thing with the wooden mallet is that, it is simple to make and is suitable for many hammering needs in a home or shop. Due to its simplicity in nature, one can easily craft it as a hobby. When making a wooden mallet, you need to have a number of tools that will make your work easier. To successfully complete mallet project woodturning tools are important; you require parting tool, skew, caliper and a roughing gouge.
When making a mallet, you will require a length wood of about 6″ long by 3 1/4″ square for the mallet head, and another piece with a length of 12″ and width of 1 1/4″ square for the handle. The next step you now need to do to is to mark the center of both ends of these pieces of wood to locate the center. This is easily done by measuring form corner to corner, where the lines cross is the center. Mount the large square to the wood lathe using the located centers to align the piece.
Rotate the mallet head by hand, this is meant to test the blank’s stability and alignment on the wood lathe before you switch on the lathe, and begin turning the mallet. As the wood becomes rounded and balanced you can increase its speed gradually, higher speed will result in a smother cut. With the help of calipers insure that the wood has an even diameter along the length of the piece. Use the parting tool to locate both ends of the mallet head, you should leave a short tendon then remove with a saw
You can now make some decorative patterns close to both ends of the blank, and then release the blank from the wood lathe. Use a saw to cut off the remaining tendons. You now need to precisely drill a hole in the center of the mallet head where the handle will be fitted into. To do this, you can us a drill press to drill the hole for the handle. Make a jig to hold the mallet head to keep the head stable, usually a large “V” notch in another piece of wood will suffice to hold the round head. Drill a vertical hole for the handle in the center, both end to end and side to side.
The next step is to make the mallet handle. Mount the small square wood into the wood lathe, the procedure is the same as for the mallet head. Use the roughing gouge, round the blank and shape the handle to your personal design. Ensure that the handle diameter meets your requirements; fits your hand. Create a short tendon to match the diameter of the hole you drilled into the mallet head. The tendon should have a slight taper, from smaller than the drilled hole to larger than the drilled hole, this will insure a tight fit. Again remove the tendons with a saw.
Both the Mallet head and Handle have been sanded and the tendons removed you can how glue the two pieces together. After the glue is dry apply a coat of oil to preserve the mallet. Mineral Oil, Linseed Oil, Tung Oil, or what ever you would like, I shy away form varnish as it tends to be slick and makes a good grip difficult.
I recently turned a bamboo chopping board into a magnetic knife rack for the kitchen. To do this, I chiselled out a grove on the back of the board and filled it with Nd magnets. The chisel is sitting on some of the bamboo shavings here. There’s something satisfying doing things by hand.
HMM Flickr 🙂
Tagged: , hand tools , Macro Mondays , Macro , Micro , Tools , Wood , Bamboo , wood work , Metal , Rust , Knife , Cut , Chisel , Sharp , Nikon D750 , Tamron 90mm Macro VC USM , Tripod
Firstly and the most obvious is adding an engraved plaque on to a walking stick. Some walking sticks have a silver or brass collar which can be engraved or a larger area such as the handle. There is enough space
on a collar to add a name, some initials or a date. If the collar is too difficult to engrave, then a brass plaque can be engraved and then tacked on to the shaft. A plaque allows a bit more space so you could add a name
and a date or a message or a short saying. The plaques themselves can be silver plated or brass in an oval shape or indeed any shape that can be bent around the shaft. You can also use pennies.
Many people like to add badges to their walking stick. The badges again are bent around the shaft of the stick and then either glued or tacked on. Badges available on the market today include British counties, country flags, clubs, football clubs, dogs, cats, horses, military badges and celtic or other symbols. You can also find famous people, places and other animals. The pewter badges are very attractive and the other badges are usually very colourful and add considerable character to your cane.
Straps and ribbons and other things that can be tied around the shaft also offer some individuality to a walking stick, as do whistles. You can add a dog whistle for calling your pet or a duck call. Whistles can be tied around the shaft or they are sometimes incorporated in to the handle. For example a thumbstick with a whistle carved into one of the tines of the V.
The other way to personalise a walking stick is to have the handle carved from wood or made out of resin to your particular design, such as your pet’s head. You could have a black labrador head with your pet’s name painted onto the collar or something like that. Resin is a fantastic material that when poured into a mould and then painted can be made to look just like the real thing.
Pyrography is another lovely art that produces a great effect on a walking stick. Pyrography is when a design is burnt into the wood with a special pen that looks rather like a soldering iron. You can achieve some detailed and beautiful results with this method.
I hope you feel inspired now to do something with your walking stick to personalise it and make it your own.
I was born in Norfolk and lived in Suffolk. So I thought I knew those two counties. But of course there is more to Norfolk than Norwich, Cromer, Yarmouth and Kings Lynn, as there is to Suffolk than Ipswich, Lowestoft, Stowmarket and Bury St. Edmunds. And so on My friend, Simon K, runs a fabulous website, which I link to on EA churches, and on his Suffolk Church page he has visited 707 Suffolk churches, and 909 Norfolk churches. That is a lot of churches for two counties to share, and many of those churches are ancient, flint built, round towered or have wall paintings, wooden roof angels or something worth the effort of going to see or seeking out the keyholder to gain access.
What I mean is that there is no way someone who only had their own car until 1984, and had little interest in churches or parishes could have heard of most of the parishes in the two counties, and so a parish church like St George.
I saw St George from the main road, I was taking a short cut to join the A14 and from there to the A12 and south on what I hoped my my last trip of the year to lowestoft as Mother is now out of hospital and in the care of district nurses in order to get put back on her feet.
So I saw the tower of St George from about half a mile away, and thought I had enough time to go over and see inside if I could.
I parked at the end of a cul-de-sac of new bungalows, and as I walk up the bank to the gate into the churchyard, the clean lines of the tower, well, towered over me.
In the porch I tried the door and found it locked, but the keyholder list made it clear that the nearest one, at Christmas Cottage, was just over the road. So, why not try, Ian?
I went to the cottage and rang the bell. I had to fill out my details in a ledger, a sensible measure. But I showed by driving licence to prove that I was who I claimed. Little did I know the small village I lived in had been noticed. More of that in a minute.
Inside St George, you eye is stolen by the fabulous pew ends; animals of all kinds, real and imaginary, and most had not been defaced, only those of obvious human form. One with the body of a chicken but a clear human face had been left alone, thus is the madness of the puritan’s mind.
I decided that I would record every pew end figure, and many whole pew ends so wonderful that they were.
There is the feint outline of a huge wall painting, Simon says it was of St. Christopher. It would have been most impressive when freshly painted. There is also a fine set of misericords.
St George’s glory is the altarpiece, into detail Simon goes below. It is alarmed, so you cannot look at them too closely, sadly, but such is a sign of the times.
I took the keys back, and the lady of the house came to speak to me as she had been told by her husband that I was from Cliffe in Kent, which is where her family is from. Sadly, I am not from, nor live in Cliffe. For once there was indeed two Cliffs in Kent, one on the Hoo Peninsular, where her family is from, and one near to Dover. Many years ago, Cliffe near to Dover was called WestCliffe to differentiate it from its namesake further north. I explained this to her, but said St Helen in Cliffe is one of my favourite Kent churches, built of alternate layers of black and light flints and stone, in sunlight it glistens and sparkles.
Although St George here in Stowlangtoft is a fine church, it is in a poor state of repair, and is due to be made redundant in the new year. Always sad when that happens to a parish church, but it is likely to be taken over by the CCT, but then who will volunteer to keep it tidy when the old wardens and keyholders are too old.
Stowlangtoft is a fabulous church and so glad am I that I spent 40 minutes of my time to visit it. Go to see it now before it is too late!
In the summer of 2003, this website became a six-part series on BBC Radio Suffolk. Something I said in the fourth programme, about Hessett, generated a fair amount of correspondence. Referring to the way many churches were restored in the 19th century, I observed that when we enter a medieval church, we are encountering a Victorian vision of the medieval; even when the actual furnishings and fittings are medieval, the whole piece is still a Victorian conception.
People wrote to me and said things like "but in that case, Simon, how do we know what was there originally and what wasn’t?". To which my reply was the enigmatic "assume that nothing is as it first appears, as Sherlock Holmes said". And if he didn’t, then he should have done.
A prime example of a church that assumes a continuity that may not actually be the truth is here in the flat fields between Woolpit and Ixworth. This part of Suffolk can be rather bleak, especially in late October, but England’s finest summer and autumn for decades had left the churchyard here verdant and golden, as beautiful a place as any I’d seen that year. The church is large, and sits on a mound that has been cut down on one side by the road. I walked up the slope, past the memorial to the art critic Peter Fuller and his unborn son, which never fails to move me. It is by the sculptor Glynn Williams, and Sister Wendy Beckett says of it that it cannot be pinned down and encapsulated, it defeats the categories of the mere mind and sings to us of our deeper self.
Overwhelmed as you may be by it, don’t fail to spot the broken window tracery that has been used to build the wall here, for thereby hangs a tale.
St George, in case you don’t know, is one of the great Suffolk churches. Although it may externally appear a little severe, and is by no means as grand as Blythburgh, Long Melford and the rest, it is a treasure house of the medieval inside. Unusually for a church of its date, it was all rebuilt in one go, in the late 14th century, and the perpendicular windows are not yet full of the ‘walls of glass’ confidence that the subsequent century would see. The tracery appears to have been repaired, and possibly even renewed, which may explain why there is broken medieval tracery in the churchyard wall. However, it doesn’t take much to see that the tracery in the wall is not perpendicular at all, but decorated. So it may be that the broken tracery is from the original church that the late 14th century church replaced. But the wall isn’t medieval, so where had it been all those years?
Another survival from the earlier church is the font. It also asks some questions. Unusually, it features a Saint on seven of the panels, Christ being on the westwards face. Mortlock dates it to the early 14th century, and the Saints it shows are familiar cults from that time: St Margaret, St Catherine, St Peter and St Paul, and less commonly St George. The cult of St George was at its height in the early years of the 14th century. Mortlock describes the font as mutilated, and it certainly isn’t looking its best. But I think there is more going on here than meets the eye. Fonts were plastered over in Elizabethan times, and only relief that stood proud of the plaster was mutilated. These are all shallow reliefs, and I do not think they have been mutilated at all. To my eye at least, this stonework appears weathered. I wonder if this font was removed from the church, probably in the mid-17th century, and served an outdoor purpose until it was returned in the 19th century.
The story of this church in the 19th century is well-documented. In 1832, as part of his grand tour of Suffolk, David Davy visited, and was pleased to find that the church was at last undergoing repair. The chancel had been roofless, and the nave used for services. A new Rectory was being built. Who was the catalyst behind all this? His name was Samuel Rickards, and he was Rector here for almost the middle forty years of the 19th century. Roy Tricker notes that he was a good friend of John Henry Newman, the future Cardinal, and they often corresponded on the subject of the pre-Reformation ordering of English churches. It is interesting to think how, at this seminal moment, Rickards might have informed the thought of the Oxford Movement. Sadly, when Newman became a Catholic Rickards broke off all correspondence with him.
During the course of the 1840s and 1850s, Rickards transformed Stowlangtoft church. He got the great Ipswich woodcarver Henry Ringham in to restore, replicate and complete the marvellous set of bench ends – Ringham did the same thing at Woolpit, a few miles away. Ringham’s work is so good that it is sometimes hard for the inexperienced eye to detect it; however, as at Woolpit, Ringham only copied animals here, and the wierder stuff is all medieval, and probably dates from the rebuilding of the church. The glory of Stowlangtoft’s bench ends is partly the sheer quantity – there are perhaps 60 carvings – but also that there are several unique subjects; you can see some of them below.
The carvings appear to be part of the same group as Woolpit and Tostock – you will recognise the unicorn, the chained bear, the bull playing a harp, the bird with a man’s head, from similar carvings elsewhere. And then hopefully that little alarm bell in your heard should start to go "Hmmmm….." because some of the carvings here are clearly not from the same group. It is hard to believe that the mermaid and the owl, for example, are from the same workshop, or even from the same decade. The benches themselves are no clue; it was common practice in the 19th century to replace medieval bench ends on modern benches, or on medieval benches, or even on modern benches made out of medieval timber (as happened at Blythburgh). Could it be that Samuel Rickards found some of these bench ends elsewhere? Could he have been the kind of person to do a thing like that?
Well, yes he could. As Roy Tricker recalls, the medieval roof at the tractarian Thomas Mozley’s church at Cholderton in Wiltshire is one that Rickards acquired after finding it in storage in Ipswich docks. In the ferment of the great 19th century restoration of our English churches, there was loads of medieval junk lying around, much of it going begging. But was Samuel Rickards the kind of person to counterfeit his church’s medieval inheritance?
Well, yes he probably was. Look at the medieval roundels in the middle window on the south side of the nave. The four evangelists are above and below two superb representations of the Presentation in the Temple and the Baptism of Christ. You can see them below; click on them to enlarge them. Unfortunately, they are not medieval at all, and it is generally accepted that they were painted by a daughter of Samuel Rickards himself. There is something similar the other side of Bury at Hawstead.
Truly medieval is the vast St Christopher wall-painting still discernible on the north wall. It was probably one of the last to be painted. The bench ends are medieval, of course, as is the fine rood-screen dado, albeit repainted. There is even some medieval glass in the upper tracery of some of the windows. The laughable stone pulpit is Rickard’s commission, and the work of William White. What can Rickards have been thinking of? But we step through into the chancel, and suddenly the whole thing moves up a gear. For here are some things that are truly remarkable.
In a county famous for its woodwork, the furnishings of Stowlangtoft’s chancel are breathtaking, even awe-inspiring. Behind the rood screen dado is Suffolk’s most complete set of return stalls. Most striking are the figures that form finials to the stall ends. They are participants in the Mass, including two Priests, two servers and two acolytes. The figure of the Priest at a prayer desk must be one of the best medieval images in Suffolk; Mortlock thought the stalls the finest in England. I was here with my friend Aidan of Sylly Suffolk fame, and he had previously photographed and written about these carving a a couple of years ago. But even he found something new to photograph, and a hush fell on the chancel as we explored.
The benches that face eastwards are misericords, and beneath them are wonderful things: angels, lions and wodewoses, evangelistic symbols and crowned heads. A hawk captures a hare, a dragon sticks out its tongue. Between the seats are weird oriental faces. Some of them are below; click on them to enlarge them.
Now, you know what I am going to ask next. How much of this is from this church originally? It all appears medieval work, and there is no reason to believe it might not have been moved elsewhere in the church when the chancel was open to the elements. What evidence have we got?
Firstly, we should notice that the only other Suffolk church with such a large number of medieval misericords of this quality is just a mile away, at Norton. I don’t ask you to see this as significant, merely to notice it in passing. Secondly, I am no carpenter, but it does look to me as though two sets of furnishings have been cobbled together; the stalls that back on to the screen appear to have been integrated into the larger structure of stalls and desks that front them and the north and south walls.
However, if you look closely at the figures of the two Deacons, you will see that they are bearing shields of the Ashfield and Peche families. The Ashfield arms also appear on the rood screen, and the Ashfields were the major donors when the church was rebuilt in the 14th century. So on balance I am inclined to think that the greater part of the stall structure was in this church originally from when it was rebuilt. And the misericords? Well, I don’t know. But I think they have to be considered as part of the same set as those at Norton. In which case they may have come from the same church, which may have been this one, but may not have been. Almost certainly, the stalls at Norton did not come from Norton church, and folklore has it that they were originally in the quire of Bury Abbey. Hmm….
Other remarkable things in St George include FE Howard’s beautiful war memorial in the former north doorway, and in the opposite corner of the nave Hugh Easton’s gorgeous St George, which serves the same purpose. It is as good as his work at Elveden. Back up in the chancel is a delightful painted pipe organ which was apparently exhibited at, and acquired from, the Great Exhibition of 1851.
But St George at Stowlangtoft is, of course, most famous for the Flemish carvings that flank the rather heavy altarpiece. They were given to the church by Henry Wilson of Stowlangtoft Hall, who allegedly found them in an Ixworth junk shop. They show images from the crucifixion story, but are not Stations of the Cross as some guides suggest. They date from the 1480s, and were almost certainly the altarpiece of a French or Flemish monastery that was sacked during the French Revolution. I had seen something similar at Baumes-les-Messieurs in the French Jura a few weeks before. There, the carvings are brightly painted, as these once were, and piled up in a block rather than spread out in a line. The niches, and crowning arches above them, are 19th century. My favourite images are the Pieta and the Mouth of Hell. Click on the images below.
One cold winter’s night in January 1977, a gang of thieves broke into this locked church and stole them. Nothing more was seen or heard of them until 1982, when they were discovered on display in an Amsterdam art gallery. Their journey had been a convoluted one; taken to Holland, they were used as security for a loan which was defaulted upon. The new owner was then burgled, and the carvings were fenced to an Amsterdam junk dealer. They were bought from his shop, and taken to the museum, which immediately identified them as 15th century carvings. They put them on display, and a Dutch woman who had read about the Stowlangtoft theft recognised them.
The parish instituted legal proceedings to get them back; an injunction was taken out to stop the new owner removing them from the museum. The parish lost the case, leaving them with a monstrous legal bill; but the story has a happy ending. A Dutch businessman negotiated their purchase from the owner, paid off the legal bills, and returned the carvings to Stowlangtoft. Apparently this was all at vast cost, but the businessman gave the gift in thanks for Britain’s liberation of Holland for the Nazis. No, thank you, sir.
Today, the carvings are fixed firmly in place and alarmed, so they won’t be going walkabout again. But a little part of me wonders if they really should be here at all. Sure, they are medieval, but they weren’t here originally; they weren’t even in England originally. Wouldn’t it be better if they were displayed somewhere safer, where people could pay to see them, and provide some income for the maintenance of the church building? And then, whisper it, St George might even be kept open.
St George, Stowlangtoft, is in the village high street. Three keyholders are listed, two of them immediately opposite. I am told that Wednesday is not a good time to try and get the key – it is market day in Bury.
Tagged: , Carved wooden pew ends , St George , Stowlangtoft , Suffolk , Church , Jelltecks , Jelltex
By the end of this article you’ll know everything you need to know when shopping for a circular saw!
The circular saw is one of the most versatile and useful tools for a any DIY minded person and woodworkers. Specifically, I’m referring to a hand-held circular saw… just to be precise. This is the tool that we’ll look at in depth in this article.
As I mentioned, this is a very handy tool to have. You may hear this called a “Skilsaw” because the Skil brand was the first to widely release a saw like this, but the correct name is circular saw. (Skil makes much more than just hand-held circular saws.)
There are two main designs, and they differ in how the motor is connected to and transfers power to the cutting blade.
Indirect drive saws (Hypoid and Worm-Drive)
Direct drive (sometimes called a sidewinder)
The Indirect Circular Saw:
These come as Worm-Drive and Hypoid saws. Don’t let the “indirect” descriptor here be misleading… these are powerful saws. “Worm” and “Hypoid” are just the terms used to describe the gears used in these. This is a specialized circular saw for heavy duty cutting. It’s generally used in framing, roofing, and carpentry. Usually, these saws are heavier, larger, and provide more torque to help cut through denser woods and handle the tough demands of a work site.
The Direct Drive Circular Saw:
This is a more compact circular saw than the typical worm-drive saw. As the name suggests, the cutting blade is directly attached to the motor. These can be very powerful, but this is also the type of design used in some underpowered and cheaply manufactured saws.
Let’s look at the key differences between these two designs:
– Line of Sight:
Looking at these two categories of saws, one of the first differences is the side of the saw that holds the blade. The hypoid and worm-drive saws have the blade on the left side of the saw, which for many people means improved line of sight to the cutting blade during use.
Most direct-drive hand held circular saws have the blade on the right side. People accustomed to this design may prefer it. Visibility to the cutting blade can still be good with a little change in posture and stance, but this may not feel natural to some. There are direct-drive versions with the blade on the left side of the saw. These are not as common in hardware stores, or even online, but they do have a growing fan base.
– The “waste” side of the saw:
This is the side opposite of the weight of the motor. This means the waste side is the side with the blade, usually. When making a cut with a circular saw, the part of the material (board, panel, lumber) that isn’t needed is called the waste. The waste end of a board is often not supported, and falls to the ground.
– Cutting speed:
How fast a saw cuts depends on several factors. One is the speed at which the blade turns. Another is the sharpness and quality of the blade itself. Yet another factor is power of the saw. A direct-drive saw usually has less torque than the other designs, so it is more likely to slow down during aggressive and demanding cuts. However, some hypoid and worm drive designs may not spin their cutting blades at as high of speeds as a direct drive.
In practical, non-construction uses, the differences in cutting speeds don’t really matter much. The quality of the blade, and using the correct blade for the material being cut, is a much bigger factor for cutting speed and cutting quality. With this being said, there are differences among all styles, and within the same designs of circular saws, that make a difference. The overall quality of a saw is always a factor.
Circular Saw Features to Know About:
– Power & Amps:
Most circular saws will advertise their power in amps. The most common rating is 15 amps. Some are rated at 14, amps, 13 amps, 12, amps, 10 amps, and lower. However, more isn’t always better. The amount of power the motor of the saw uses doesn’t always translate to more power at the actual cutting blade. The design of the motor’s inner-workings plays a role. Also, there are times when having a saw that pulls 15 amps may not be desirable. If you’re using a long extension cord and/or a smaller power generator, a saw that pulls 10 amps might be a better choice.
– Oh, and what about cordless circular saws?
The size and power of the battery is the thing to consider for these. You’ll see these rated in volts, with 18 volt and 20 volt saws (saws designed to work with 20 volt batteries) being very common in budget and mid-level saws. The volt rating is something that can be used as part of comparing different saws, but shouldn’t be the only aspect considered. Keep in mind that the convenience of a cordless saw can mean a compromise on cutting power.
There’s so much variety in circular saw designs and engineering that no category of hand held circular saw can claim to be the heaviest or lightest. While generally speaking, direct drive circular saws are lighter than hypoid and worm drive saws, there are certainly direct-drive saws that are heavier. Most budget saws will use a somewhat heavier formed steel base plate/shoe and blade guards. Lighter saws use cast aluminum or magnesium alloys for their base plate and blade guards. The weight of motors can vary based on design. Lighter saws are generally preferred due to less user fatigue, but there times with a little extra weight is useful.
– Light and Laser guide:
These have the potential to be useful, but are often found on budget circular saws and may not be accurate. If the laser can be adjusted, it may be made more accurate. What many people find more useful than a laser cutting guide is an on board light.
– Depth and Cutting Angle Adjustment:
Some saws can cut thicker materials than others. Also, some can cut at greater angles than others. Among circular saws that use the most common sized blades (7 1/4″), the depth of cut limit doesn’t vary greatly. However, even an additional 1/8″ cutting depth can make a big difference in some applications.
Cutting angle quality depends on the design of the angle adjustment mechanism of the saw. Rivet spots and mechanism components must be well manufactured and of sufficient strength to maximize both accuracy and ease of adjustment.
Some saws use smaller blades that have a more shallow depth of cut. This is often true in cordless saws marketed to the average DIY’er or homeowner. Cordless saw can be found that use blade sizes: 3 3/8″, 5 1/2″, 5 3/8″, 6 1/2″, 7 1/2″, and a few other less common sizes. Bigger blades usually mean greater cutting depth. There are corded circular saws with 10″ blades that can be used in construction and woodworking. These are usually worm-drive saws because the larger blades need the extra cutting power that a worm-drive or hypoid saw can provide.
– Anti-Snag Lower Blade Guard:
All common hand held circular saws will have a lower blade guard that moves during cuts, but some may snag on the edge of materials being cut. An anti-snag lower guard is becoming the standard, but some saws may still have trouble with snagging during beveled cuts. A lower guard that snags on the edge of a board can be dangerous. It can increase the chance of damage to the wood or blade, but most importantly, it can lead to serious injuries for people just learning to use a circular saw.
– Motor Brake:
This is exactly what it sounds like. Once you release the power trigger, a brake engages that stops the motor from turning in about 2 seconds. It increases the safety of a saw, though all circular saws have a lower guard that also helps protect a person and work surfaces from the spinning blade when the saw is not actually being used to make cuts. One additional advantage of a motor brake, though, is that it can allow you to make repetitive cuts quickly by reducing the time you wait for the blade to stop spinning from previous cuts.
A built-in blower is a nice feature. It allows a user to keep the line of cut clear by blowing sawdust out of the way during cutting. The blower can also be used when not actually making cuts by simply squeezing the trigger and holding the saw toward an area covered in saw dust.
Believe it or not, there is even more variety among circular saws than what I’ve already presented above. For example; there are small corded saws that use smaller blades, such as the Rockwell compact circular saw with a 4 1/2″ blade, and the Rockwell VersaCut with a 3 3/8″ blade. These saws are good for smaller jobs and cutting sheet goods, such as OSB, plywood, MDF, or panels. Their depth of cut isn’t anything to brag about, but the smaller blades are also thinner, meaning less material is wasted during cuts.
Alright, so what’s the best circular saw for you?
A 7 ¼ inch corded direct-drive saw with solid depth and angle adjustments and an aluminum base plate/shoe is a very good option for the beginning woodworker. This would be a mid level circular saw.
A beginning woodworker may rely on a circular saw for a wide variety of cuts. For this reason, if you’re shopping for one, I’d encourage you to stick with a reputable brand that offers the key features that will be most helpful for you within your desired price range. A built-in LED light, a blower, and a brake are features worth considering.
Do you feel like an expert in circular saws now? You certainly know more than most, and you now know enough to make a solid decision when/if you shop for one.
Detached three-bay single-storey Classical-style Carnegie Free Library, opened 1910, with prostyle diastyle Doric portico to centre on a bowed plan, single-bay single-storey gabled flanking end bays, and four-bay single-storey side elevations. Pitched artificial slate roofs on a U-shaped plan (gabled to end bays; forming hips to corners) with terracotta ridge tiles, pitched artificial slate roof over entrance bay (completing quasi-quadrangular plan) with rolled lead ridges, open work steel turret on an octagonal plan on copper-clad square-profiled base having lead-lined ogee dome over, and profiled cast-iron rainwater goods on concrete block eaves having decorative hoppers and foliate brackets. Exposed concrete block construction with cut-limestone dressings including stringcourse to gables having cut-limestone coping to gables. Round-headed window openings to end bays in round-headed recesses with cut-limestone sills, advanced surrounds, moulded archivolts having keystones, and timber casement windows. Square-headed window openings to remainder with cut-limestone sills, and timber casement windows. Round-headed door opening under prostyle diastyle Doric portico on a bowed plan on two cut-limestone steps (with cut-limestone columns supporting frieze, concealed cornice, and inscribed blocking course having moulded coping) with inscribed limestone flagged threshold, and timber panelled double doors having overlight. Interior with coving to ceilings having part-exposed roof construction. Road fronted.
A well-composed middle-size library built following sponsorship from Andrew Carnegie (1835-1919) to designs prepared by the Tyars and Jago practice in association with E. Stewart-Lowrey (fl. 1910) and Son on a site donated by Ellen Odette Desart (née Bischoffsheim), fourth Countess of Desart (1857-1933): one of a number of philanthropic projects sponsored by Lady Desart in association with or in memory of her brother-in-law Otway Frederick Seymour Cuffe (1853-1912) (see also Aut Even Hospital (1915) (12401924/KK-19-24)) the library originally boasted fittings (removed, pre-1998) executed by the similarly family-established Kilkenny Woodworkers Company. Forming a distinctive landmark in the streetscape the compact plan of the library is enlivened by individual characteristics enhancing the Classical theme of the composition including an elegant bowed portico surmounted by a cupola or turret, finely-detailed dressings to the window openings, and so on. In a cost-effective measure appealing to Carnegie’s frugal agent James Bertram (1872-1934) the library is constructed almost entirely in fine concrete block imitating local Kilkenny limestone, thereby representing an early instance of the use of that material in the locality. Having been reasonably well maintained the library presents an early aspect with most of the original fabric surviving intact, thus making a positive impression in an historic setting.
Source: National inventory of architectural heritage
Tagged: , Kilkenny , old pictures of Kilkenny , old Kilkenny , old photographs of Kilkenny , library , Carnegie , Leinster , Tourism , Ireland , Eire , Ierland , Irlanda , Edward Dullard Photography , Cill Chainnigh , Kilkenny Photographer , Kilkenny online camera club , Vintage photos of Kilkenny , history , heritage
Students from the Artesamos Don Bosco are selected from the neediest families in nearby communities. Their education, room, board, classes, and materials are all free.
Artesanos Don Bosco (ADB) is a non-profit organization that supports self-employed, skilled artisans in Peru. It gives the opportunity to young people to remain in their villages while earning an income and improve their lives.
Tagged: , Don , Bosco , Chacas , Callejón de Huaylas , Patio , balcony , wood work
Title: Electric railway review
Year: 1906 (1900s)
Authors: American Street and Interurban Railway Association
Subjects: Street-railroads Electric railroads
Publisher: Chicago : Wilson Co
Contributing Library: Carnegie Library of Pittsburgh
Digitizing Sponsor: Lyrasis Members and Sloan Foundation
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tain a switching crew to place the cars for nightinspection. The off-season cars are stored in houses onWharf avenue, Division street and West Nashville.Paint and Carpenter Shops.The building occupied by the paint and carpenter shopsis divided into two parts by a brick wall. The paint shopis 49 feet wide and the carpenter shop 69 feet. Both roomsare 190 feet long and have concrete floors and reinforced con- Fay & Egan, and the motors used in operating them, havebeen installed. Tools Motors 24-inch resaw 20 horsepower 24-inch side planer 15 horsepower 9-inch four-side molder 15 horsepower 9-inch Universal woodworker 10 horsepower Cut-oft saw 5 horsepower Rip saw 7*4 horsepower 3-lnch four-side molder 5% horsepower 7-inch tenoning machine 514 horsepower Mortising machine ahi horsepower 32-inch scroll saw 5% horsepower 30-lnch double-head shaper 7% horsepower Drum and disc-sanding machine 3 horsepower Universal sash and door clamp. The only variation from the plan of having one motor
Text Appearing After Image:
New Shops and Car Storage at Nashville—Interior of Car House Showing Concrete Construction. crete roofs. The floor of the paint shop is sloped for drain-age so that cars can be washed there if necessary. The varnish room, a photograph of which is reproduced,occupies the same position in the paint shop that the mezza-nine floor does in the carpenter shop. The room has a floorarea 44 by 48 feet. In it paint and varnish are applied to allcar panels, window frames and doors and to all portable parts for each tool is at the rear of the building, where a line-shaft16 feet long, driven by a 5-horsepower motor, drives an emerywheel, knife grinder, drill-press and grindstone. Workbenches built of 4-inch maple planks laid on edge and eachequipped with an Emmert Brothers universal vise, are fur-nished each cabinetmaker employed in this department. Theequipment for this building was selected with a view toward March 2. 1907. ELECTRIC RAILWAY REVIEW 285 the construction at a later date of all ne
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Tagged: , bookid:electricrailwayr17amer , bookyear:1906 , bookdecade:1900 , bookcentury:1900 , bookauthor:American_Street_and_Interurban_Railway_Association , booksubject:Street_railroads , booksubject:Electric_railroads , bookpublisher:Chicago___Wilson_Co , bookcontributor:Carnegie_Library_of_Pittsburgh , booksponsor:Lyrasis_Members_and_Sloan_Foundation , bookleafnumber:321 , bookcollection:carnegie_lib_pittsburgh , bookcollection:americana